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Fun fact: that song only became a hit after having been included in David Lynch’s ‘Wild at Heart’ and then being played on radio by Lee Chesnut, fan of the director.

Well teach him better then!

Yall should switch for good once all the old fucks die.

As an old fart, I’m perpetually bothered by the fact that ‘rave crabs’ have nothing to do with ‘FotL’ and people wouldn’t understand me referencing the latter.

Exactly, this depends on the circumstances. E.g. cats tend to bury the waste so it doesn’t smell, while other territorial animals piss on everything in sight to mark the land. Nevertheless, when an animal is jumped by another, they often drop deuces all over while hitting the road dramatically. There’s a recent-ish clip on Reddit of two hippos fighting, wherein one of them decided to do the helicopter distribution of dung in the middle of the altercation.

I’m more partial toward ‘Watermelon Man’ reinterpretation from the same album.

Not really, it’s well known that animals tend to shit and piss, dropping the weight and encumbrance, right before executing on the fight-or-flight response. People are likewise prone to soiling themselves in fear. So idk why it’s the other way around when just going on my walks, but I’m not gonna complain about it when my city doesn’t have many public toilets open at night.

In my unscientific experience, if I’m on the go as in walking, the piss can be kept in for an hour and more. If I stop, I don’t think willpower alone will prevent me from pissing myself. So the dance is probably simulating the conditions of being too busy for a toilet break.

I’ve been a fan of Laswell for about twenty years, and it’s fascinating to dig through his catalog and see how easy production comes to him, how he always had his fingers in a lot of projects and how he gathered a whole bunch of other musicians in his orbit. ‘Future Shock’ also has Nicky Skopelitis, who did guitar on some of Material’s albums and was in The Golden Palominos with Laswell, and whom Laswell pretty much dragged from one project to another for decades.

Eraldo Bernocchi is another illustrative example. He had an ambient project with some dudes, released something like four records, and then did a collaboration with Laswell, inevitably falling into his gravitational sphere. After that all of Bernocchi’s later releases in the project and under his own name were clearly marked by Laswell’s methods and the library of sounds and effects, even without latter’s involvement.

Huh? With my ears, normally.

I’ve been posting jazz-fusion and jazz-metal some time ago in the music communities, see in my profile: the posts are marked with the genre. You’ll probably want to start at ‘Jonny Greenwood — Bodysong’ and go in the chronological order of the posts, which is also approximately by increasing craziness. Fugu Quartet/Quintet in particular did jazz with doom-metal, so in kinda related spirit.

I also posted some regular jazz and other stuff, see if anything catches your eye or ear. It’s all from the personal selection.

That album reminds me of The Kilimanjaro Darkjazz Ensemble, Bohren & Der Club of Gore, and perhaps The Mount Fuji Doomjazz Corporation, so you can try those if you want vaguely similar sound.

It’s because ‘Rockit’ was made by Bill Laswell, Michael Beinhorn, GrandMixer DXT and three other guys on turntables. Hancock basically turned up at the end to play some synth lines.

Laswell and Beinhorn were in the band Material, and turned it into a production outfit, plus Laswell was a producer at the label Celluloid at the time, which label was a pioneer of hiphop. He also participated in the New York no-wave jazz scene as musician and composer.

Hancock was in his early forties, and his career was getting stale. His manager, twenty-five years old, pitched the idea of making a track to both him and Laswell. Hancock was taken by Laswell to hear some popular djs, but still required more coercing by the manager.

Material’s early stuff might be closer to ‘Rockit’, although it’s more disco-funk. Dunno about Celluloid’s output, as I’m not really into old hiphop. Laswell used scratching in some of his genre-clashing projects well into the 2000s, e.g. in the ‘Axiom Sound System’ concert with Tabla Beat Science and a bunch of other folks (including Grandmaster DXT). Laswell also co-produced and played bass on the rest of Hancock’s ‘Future Shock’ album and the next two albums ‘Sound-System’ and ‘Village Life’, and did other collaborations with him.

(Yall might be familiar with Time Zone’s ‘World Destruction’ with Afrika Bambaataa and John Lydon; and Material’s ‘Seven Souls’ with the voice of William S. Burroughs. Both of these were featured in ‘The Sopranos’, and both were produced by Laswell, just like PIL’s album ‘Album’.)

Afaik Tineye hasn’t been updated in years. Both Google and Yandex find a bunch of images, including an image with a different background and darker-skinned Aladdin with his jacket still on, but striking the same pose.

This video showcases the kind of math that Angine de Poitrine have to constantly do: ‘Angine de Poitrine’s Math Rhythms Explained’.

“Are you uncomfortable with eye contact?”

Imo honey works better with cheese. Also can handle some added sausage, as suggested by another commenter — though I prefer parboiled sausage like hotdogs rather than that with globs of fat.

‘Stalker’ isn’t a studio film, same as Tarkovsky’s other films. They are ‘auteur’ films. ‘Stalker’ doesn’t even really follow the novel, it’s rather Tarkovsky’s ideas put into the same setting.

Directors who want to make slow films, make them still. See e.g. ‘Boyhood’. Of Russian films, try ‘Hard to Be a God’, the last film of Alexey German, made in 2013. There’s a whole movement called slow cinema, with extreme examples like Lav Diaz’s work having runtimes of up to ten hours. The second-longest ever cinematic film was made in 2024.

I mean, judge for yourself:

• Marusha’s ‘Somewhere Over the Rainbow’

• DJ Paul Elstak’s ‘Luv U More’

• Technohead’s ‘I Wanna Be a Hippy (Flamman & Abraxas Radio Mix)’

• Blümchen’s ‘Kleiner Satellit (Piep, Piep)’ or ‘Bicycle Race’

Although, on a further relisten, I have to admit horsegiirL’s track blends happy-hardcore with hard-techno, most of all. But hard-house is its own beast for the most part.